Dinner Party March 24,1987


TLM: You were part of an amazing dinner party on March 24 1987 that included Miles, Prince, Prince’s Dad, Sheila E and you. Was that the first time you met Miles?

Eric Leeds: He had come by a rehearsal for the Sign ‘O’ The Times tour that afternoon and I was introduced to him then. I had gone home after rehearsal and got a call from one of Prince’s assistants, “By the way, Prince is inviting you to have dinner with him,” so I jumped in my car and went over to Prince’s house. I kinda think that Prince wanted me there to open up the conversation with Miles and get things rolling. Miles was as much a performer during that dinner as he ever was on stage. You couldn’t get him to shut up and it was very funny! There are some aspects of that evening that I’m not sure I want anybody else to know about, and if I do, it’s going to be in my book! [note that at present, Eric has no firm plans to write a book].

But basically the most interesting aspect of the relationship between Prince and Miles was the dance that they would do around each other. What Prince really related to about Miles was his character – his legacy, his mystique and everything that Miles represented as a personality. Prince saw in Miles so much of what he thought of himself – the person that goes against the grain, that’s opinionated, that doesn’t allow himself to be controlled by any aspect of the industry for his own artistic vision. And that’s very much what Miles saw in Prince. He saw a young version of himself but there was always something about the generational thing. It was like “The King is dead, long live the King.” You had these supreme egos that had an undying respect for each other but neither wanted to give it up to each other. So with Miles, you could almost see the cartoon balloon over his head saying: “Yeah you’re young and hip, but I’ve got all of these years of experience that you haven’t had yet.” While Prince was looking at Miles and saying “Yeah, you’re the icon – but you’re old! I’m the new version!” And it defined and characterised every aspect of their relationship and it was hilarious to sit back and watch that unfold. That was the biggest enjoyment for me – watching these two dance around each other.

TLM: Any more recollections you want to share?

Eric Leeds: At one point in the evening, Miles grabbed me by the arm and said: “Eric, let me see your carriage!” I’m looking at him and trying to be cool and I say: “My what?!!” And he says, “Your carriage! Show me how you hold your horn!” And then I realised: “Oh my God, he’s using an archaic definition of the word carriage. He said “Show me how you stand when you hold your saxophone.” Then he goes: “Do you do it like this?” And he mimicked the way a saxophone player holds his horn. I looked at him and laughed and then I said, “Is that the way I should hold it?” And he said “Yes,” and I replied, “Well Miles, that’s exactly how I hold it!”

When we were sitting down the first thing I wanted to ask him was about the acid funk band with [guitarist] Pete Cosey [1973-1975], which is the band that I absolutely loved. I was one of the few people at the time that did! And Miles looked at me and said “You liked that band? Nobody liked that band! I never met anybody who liked the band. You liked that band?” I said “Miles, there were some of us who loved that band.” I also got the indication from his demeanour that that was a period of his life he didn’t remember too much about and what he did remember, he didn’t want to remember. I don’t think a lot of people realised that a lot of what Miles said, he said for effect. That he really wanted to say dumb stuff at times just to see how you would react or it was his way of making of point. So it was a case of trying to figure whether he was saying something for effect, or was heartfelt or was a direct response to a comment.

I remember asking him “Are you into someone like [trumpeter] Lester Bowie? A part of me said “Lester Bowie comes from the Art Ensemble of Chicago, a kind of music Miles was known for disliking, so what will he say?” Miles changed his tone of voice and looked at me very seriously and said: “Why wouldn’t I like Lester Bowie?” But then it would not have surprised me if I saw an interview with him in a magazine the next week where he dissed Lester Bowie! Because he was going to say what he was going to say depending on how he felt or what he felt the purpose of the question was. It was an interesting night.

01. Sign O' The Times
02. Play In The Sunshine
03. Little Red Corvette
04. Housequake
05. Girls & Boys
06. Slow Love
07. I Could Never Take The Place Of Your Man
08. Hot Thing
09. Now's The Time + Sheila E drumsolo
10. Let's Go Crazy
11. When Doves Cry
12. Purple Rain
13. 1999
14. The Cross
15. It's Gonna Be A Beautiful Night

Recorded Live at Palais Omnisports de Bercy, Paris, France - June 17, 1987.

and tonight, we get off









Housequake

Sh... shut up already, damn!

Tell me who in this house know about the quake? (We do)
I mean really, really
If U know how 2 rock say "Yeah" (Yeah)
If U know how 2 party say "Oh yeah" (Oh yeah)
But if U ain't hip 2 the rare housequake ... shut up already, damn!

Housequake - Everybody jump up and down
Housequake - There's a brand new groove goin' round (Housequake)
In your funky town (Housequake)
And the kick drum is the fault

U gotta rock this mother, say (Housequake) ... uh
We gotta rock this mother, say (Housequake) ... uh, uh

We're gonna show U what 2 do
U put your foot down on the 2
U jump up on the 1
Now U're havin' fun
Huh, U're doin' ... the housequake
Hey

Question - Does anybody know about the quake? (Yeah!)
Bullshit!
U can't get off until U make the house shake
Now everybody clap your hands, come on
Let's jam y'all (Let's jam!)
Don't wait 4 your neighbor
Green eggs and ham
Doin' the housequake

There's a brand new groove goin' round
In your city, in your town
Housequake - And the kick drum is the fault

Housequake (Housequake)
Housequake - U gotta rock this mother (U gotta rock this mother)
Housequake
Housequake - U gotta rock this mother down, come on
Housequake {x2}

Now that U got it, let's do the twist
A little bit harder than they did in '66
A little bit faster than they did in '67
Twist little sister and go 2 heaven
Come on y'all, we got 2 jam before the police come
A groove this funky is on the run
Hey!

Shake your body till your neighbors stare at cha!
(Quake) {x6}

Housequake - Everybody, everybody jump up and down
Housequake - There's a brand new groove (groove) that's goin' around
Housequake - In this city, in this funky town
Housequake - And the saxophone is the fault, check it out

If U can't rock steady, shut up already
Damn, U got 2 get off if U know what I'm talking about
On the 1 y'all say "Housequake"
Top of your body, let me hear U shout, say
(Housequake) My Lord!
(Housequake) My Lord!
(Housequake) Bullshit, louder, say it!
(Housequake) Ooh-wee

Shock-a-lock-a boom!
What was that? Aftershock!
Everybody, everybody U gotta rock, U gotta rock, come on

We're gonna shake, we're gonna quake
Cuz we got the baddest groove that we could make
We on the 2, y'all, the drummer's gonna tap
We gonna sing it and rock this mother 2 the max
And that's a fact
Housequake - Come on, say it (Housequake)
Come on, U can't follow it
We got the baddest jam in the land
Everybody shut up, listen 2 the band

Housequake

Shut up already, damn!
© 1987 Controversy Music - ASCAP

6.19.1987 Stadion de Galgenwaard:Utrecht,Holland
set list coming soon

3. Housequake
Housequake was recorded in October 1986. It was this track and the previously
recorded Shockadelica which inspired Prince to record an album of tracks
using speeded up vocals. He started the Camille album sessions later the
same month and completed it by the beginning of November. The album was
sequenced on November 5th and a single with Shockadelica on the A-side and
Housequake on the B-side was planned. Prince abandoned the idea for a separate
Camille album later in the month, deciding instead to expand the project into
a triple album entitled Crystal Ball. This would feature both regular and
speeded up vocal tracks using a combination of new songs, camille songs and
songs recorded for the earlier aborted Dream Factory project.

Housequake wasn't initially planned as a single, however, once the Sign O' The
Times album was released, the track started to get a lot of airplay. WB then
wanted to release it as a single and various extended versions and remixes
were made. By the time these were completed, they'd missed the boat as far as
a single release was concerned and the track ended up appearing on the B-Side
to U Got The Look. Only one of the remixes was officially released, the 7 Minute
Mo' Quake mix. An officially comissioned remix by Razormaid was rejected by
Prince and shelved, though this did subsequently appear on various DJ Mix albums.

The Ballad Of Dorothy Parker

Dorothy was a waitress on the promenade
She worked the night shift
Dishwater blonde, tall and fine
She got a lot of tips

Well, earlier I'd been talkin' stuff in a violent room
Fightin' with lover's past
I needed someone with a quicker wit than mine
Dorothy was fast

Well, I ordered - "Yeah, let me get a fruit cocktail, I ain't 2 hungry"
Dorothy laughed
She said - "It sound like a real man 2 me (U're kinda cute)
U're kinda cute, U wanna take a bath?" (Do U wanna, do U wanna?) ... Bath?

Oh, I said - "Cool, but I'm leavin' my pants on (What U say?)
Cuz I'm kinda goin' with someone"
She said - "Sound like a real man 2 me
Mind if I turn on the radio?"

"Oh, my favorite song," she said
And it was Joni singing, "Help me, I think I'm falling"
(Drring) The phone rang and she said
"Whoever's calling can't be as cute as U"
Right then and there I knew I was through (Dorothy Parker was cool)

Well

My pants were wet, they came off
But she didn't see the movie cuz she hadn't read the book first
Instead she pretended she was blind
An affliction brought on by a witch's curse
Dorothy made me laugh (ha ha, ha ha)
I felt much better so I went back 2 the violent room
(Tell us what U did, what U did) Let me tell U what I did

I took another bubble bath with my pants on
All the fighting stopped
Next time I'll do it sooner
This is the ballad of Dorothy Parker
(Dorothy Parker, Dorothy Parker, Dorothy Parker)
Dorothy Parker, Dorothy Parker, Dorothy Parker

Well
Dorothy Parker, Dorothy Parker
Well
Oh

© 1987 Controversy Music - ASCAP

This thread is brilliant, I would have loved to have been there, the concert movie is amazing and a lot of people say the live shows were so much better, so that says everything to me. Best part of the moive is the Forever in my life sequence (52 - 59 mins)

Susannah Melvoin: Backing vocals Starfish and Coffee
Starfish And Coffee, Lyrics co-written by Susannah

Starfish And Coffee
It was 7:45, we were all in line 2 greet the teacher Miss Kathleen
First was Kevin, then came Lucy, third in line was me
All of us were ordinary compared 2 Cynthia Rose
She always stood at the back of the line, a smile beneath her nose
Her favorite number was 20 and every single day
If U asked her what she had 4 breakfast, this is what she'd say

Starfish and coffee, maple syrup and jam
Butterscotch clouds and a tangerine, a side order of ham
If U set your mind free, baby, maybe U'd understand
Starfish and coffee, maple syrup and jam

Cynthia wore the prettiest dress but different color socks
Sometimes I wondered if the mates were in her lunchbox (Oh ooh oh)
Me and Lucy opened it when Cynthia wasn't around (Oh ooh oh)
Lucy cried, I almost died, U know what we found

CHORUS:
Starfish and coffee, maple syrup and jam
Butterscotch clouds, a tangerine and a side order of ham
If U set your mind free, baby, maybe U'd understand
Starfish and coffee, maple syrup and jam

Starfish and coffee

Cynthia had a happy face, just like the one she draws
On every wall, in every school, but it's alright, it's 4 a worthy cause
Go on, Cynthia!
Keep sayin'...

CHORUS

(La la la la...)
Starfish and coffee, love 4 the soul {x2}

© 1987 Controversy Music - ASCAP

The A Side:
10 (The Perfect Mix) 7:13

The B Side:
(The Perfect) 10 (7″ Version) 3:51
Ten and ½ 3:18
Two 5:28

The Source:
Label: Paisley Park Records
Catalog#: 0-20795
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1987

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The A Side:
(The Perfect) 10 (Edit) 3:51

The B Side:
Ten and ½ 3:18

The Brief:
The second Madhouse album was entitled ’16′ and was released on November 18, 1987. Again, Eric Leeds contributed on saxophone and flute. Others were credited in the album’s liner notes including Sheila E. on drums, Levi Seacer, Jr. on bass guitar, Dr. Fink on keyboards and John Lewis on drums. “Ten” backed with the b-side “Ten and ½” is the first of two singles released from ’16′.

The A Side:
6 3:19

The B Side:
Six and ½ 2:34

The Brief:
Back in March, we ran a poll to see what series of 7″ singles everyone would like to see here on Fun With Vinyl. This week I’m running the second place finisher from that poll, Madhouse. Gonna include the 12″ releases also…

Madhouse was another in the myriad of side-projects that Prince immersed himself in during the 80s. The debut Madhouse LP was released January 21, 1987. It was simply titled ’8′ and included eight tracks with the titles of “One”, “Two”, etc. Prince performed all instruments on ’8′ with the exception of the saxophone and flute parts which were performed by Eric Leeds. The only single released from ’8′ was “Six” and it was backed with the non-album b-side “Six and ½” that was composed by Leeds and featured Atlanta Bliss on trumpet.

The A Side:
13 (The Paisley Park Mix) 7:49
Thirteen and ¼ 5:47

The B Side:
13 (LP Version) 4:46
Four (LP Version) 2:24

It

I think about IT baby all the time, all right
It feels so good IT must be a crime, all right
I wanna do IT baby every day, all right
In a bed, on the stairs, anywhere, all right

(Come on)

CHORUS:
I wanna do IT baby all the time, all right
Cuz when we do IT girl, IT's so divine, all right

I could be guilty 4 my honesty (All right)
But I've got 2 tell U what U mean 2 me, (All right) all right
With U, I swear I'm a maniac, all right
U see, IT ain't no joke, just a natural fact, all right (All right) (Come on)

CHORUS

(Doin' IT) IT {x3}
(Doin' IT)

(Come on) {x2}

I could be guilty 4 my honesty, all right
But I got 2, I got 2 tell U what U mean 2 me, yeah, all right

Yeah (Come on) Yeah, come on

I wanna do IT baby all the time, all right, yeah
Cuz when we do IT girl, IT's so divine, all right

With U, I swear I'm a maniac, all right, yeah (CHORUS)
U see, IT ain't no joke, just a natural fact, all right
All right

I wanna do U baby all the time, all right (Yeah ooh)
(U see, U make IT so good, IT's so divine, all right)
Cuz when U do IT girl, IT's so divine, all right

I'm gonna think about IT, I'm gonna think about IT, baby
All the time (Think about IT all the time)
Fuckin' on your mind now (Feels so good, must be a crime)

Doin' IT, doin' IT {x4}

(Come on) {x2}

(All right)
(IT feels so right, it must be a crime, all right)
(I wanna do IT, I wanna do IT, all right)
(All right)
(Cuz when we do IT, IT's so divine, all right)
(All right)
(Come on)

© 1987 Controversy Music - ASCAP

A really good off show this was a SOTT/Madhouse combination.

December 5. 1987
The Fine Line Cafe Minneapolis
The Fine Liners Stage

1.Instrumental Jam
2.Eleven
3.Hornz solo
4.Villanova Junvtion
5.Just My Imagination
6.Drum solo
7.Freddie Freeloader
8.Juck U Off
9.Drum solo
10.Chain Of Fools
/It's Gonna Be A Beautiful Night
11.Housequake/cold sweat
"Fine Line Cafe"Uni

[Edited 9/23/10 11:00am]

May 12. 1987
( Sign 'O' The Times Tour )
Lorensberg Gothenburg. Sweden
Aftershow
U Got The Look
Housequake
Just My Imagination
Red House

1 woman that could and still does rock leopard print fur just right

ON THE DRUMS... SHEILAAAAAA EEEEEEE!!!

this is prince's last best era, before he hit rock bottom.

Levi Seacer Jr came in2 the Prince camp via Sheila E's Sheila E album this was sometime in 1986

Mico Weaver also came in2 the Prince camp via Sheila E, they new each other from High School I believe. Mico came in2 the Prince camp just be4 the Purple Rain fell. He performed with Sheila's Glamorous Life band & Romance 1600, he was the guitarist on the Family album and performed with them at their 1 and only show @ 1st Avenue. from there he was pulled into the live Revolution band, also playing rhythm guitar on Mountains. Appearing in the Mountains Another Lover & Girls & Boys videos

Prince's baffling brilliance
(no rating)

SIGN O' THE TIMES
PRINCE
Paisley Park/Warner Bros.

BY KURT LODER

Prince is beginning to be a puzzlement. Sign o' the Times, his ninth album in what is now a nine-year recording career, is of course largely dazzling; sixteen tracks spread across two LPs -- half of them brilliant, half merely better than ninety percent of the stuff you hear on the radio. There really is no one else like him (although a lot of people try to be), and he remains that rare pop artist to whom you can attach the word genius --or artist, for that matter -- without gagging.

But three years ago, with his album Purple Rain perched atop the charts and his movie of the same name racking up boffo box office, Prince appeared to be poised on the verge of some Great Statement -- some grand new synthesis of black and white musical forms, of sexual redefinition and spiritual devotion. He seemed, in short, to be about to put it all together. But in the wake of Purple Rain, he has drifted. Maybe the movie, with its quasi-autobiographical themes and its implicit challenge to his powers as a budding auteur, focused his creative energies in a one-time-only way. Maybe the Prince-mania that attended its release frightened him. (Or disgusted him. Or bored him.) Whatever the case, with the subsequent Around the World in a Day and Parade, he has been backing away from that peak ever since. Now comes Sign o' the Times, and the Great Statement remains unmade.

This is only a relative letdown, of course. Coming from almost any other artist, Sign would be cause for celebration (not to mention mad partying). The best music here is tough and inventive and exuberantly experimental. Dispensing with his former band, the Revolution (it appears on only one cut, the funk workout "It's Gonna Be a Beautiful Night," recorded live in Paris last year), Prince scales back its creative attack to what is essentially a one-man-band operation, with overdubbed assists from two estimable horn men, sax player Eric Leeds and trumpeter Atlanta Bliss. (There are also key bits by percussionist-singer Sheila E., ex-Revolutionaries Lisa Coleman and Wendy Melvoin, Wendy's sister Susannah Melvoin, pop singer Sheena Easton and a new vocalist named Camille.)

The resulting minimalism, especially after some of the string-laden pretensions of Parade, is wonderfully bracing. "Sign o' the Times," the album's first single, sets up an immediate tension between a rubbery bass riff and a ponging percussion figure, blossoming rather darkly with the addition of subtly unsettling keyboard chords as Prince decries the contemporary prevalence of drugs and war and suggests, as an antidote, "Let's fall in love, get married, have a baby/We'll call him Nate (If it's a boy)." This is pure Prince -- the formidable rhythmic power, the sociosexual transcendentalism, the loopy humor -- and it's perfect, a piece of real aural art.

Elsewhere, and with equally impressive results, Prince reasserts his mastery of both black funk idioms and white psychedelic and hard-rock styles. "I Could Never Take the Place of Your Man," with its Who-like crunch chords and its irresistible keyboard riff, is the most irresistible guitar rocker Prince has done since 1980's "When You Were Mine." And "It," with its Pink Floyd-style guitar tones, and the delightful "Hot Thing," which features an odd little Oriental keyboard hook, re-confirm Prince's genuine affection for Sixties-style trippery. The stylized funk tracks are even more revealing -- they seem in some ways to be almost homages. The sexy "Slow Love," with its jaunty keyboards and neck-nuzzling delivery, vividly recalls Sly Stone at the peak of his powers. And the uproarious "Housequake" is a virtual survey of thirty years of black performance styles: the title apparently refers to house music, which erupted out of Chicago last year; the singer's boastful persona is borrowed from rap; the wicked beat and machine-gun horn lines are pure James Brown; and the goofy exhortation that brackets the track -- "Shut up, already! Damn!" -- is lifted from Little Richard. As might be expected, the whole things smokes ferociously.

The balance of the album finds Prince being his unpredictable self -- which is, if nothing else, never dull. "The Ballad of Dorothy Parker" takes it title not from the celebrated quiptress of the Algonquin Round Table but rather from a fictive blond waitress who has "a quicker wit" than Prince and (like him) loves Joni Mitchell. The hilarious and sexually arresting "If I Was Your Girlfriend" is a funk-thunk number with weird crowdlike backup vocals; it finds Prince wheedling his beloved with the disconcerting question "Would you run to me if somebody hurt you/Even if that somebody was me?" Then there's "The Cross," one of his most straightforward religious songs, which starts off as a sort of folk-rock ballad, then erupts into overpowering power-guitar chords and concludes in a shimmering puddle of jazzlike vocal harmony straight out of the Four Freshman song book.

In fact, Prince's virtuoso eclecticism has seldom been so abundantly displayed, from the Hendrixian funk that crops up on "I Could Never Take the Place of Your Man" and the Wizard of Oz drones that form the unlikely center of "It's Gonna Be a Beautiful Night" to the razory instrumental run in "Play in the Sunshine" and the eerie keyboard wheezlings in "Housequake."

That all sounds pretty interesting. In fact, it is. "Sign o' the Times," "Housequake," "Hot Thing" and "I Could Never Take the Place of Your Man" will be new Prince classics. "It," "Slow Love," "It's Gonna Be a Beautiful Night" and the almost-heavy-metal "U Got the Look" are almost as good. There would be one great LP hidden in the sprawl of this double album if the songs exerted any uniform effect. Unfortunately, they don't. That's okay; one takes great songs wherever one can find them. But simple virtuosity -- mere brilliance, one might almost say -- seems too easy an exercise, at this point, for someone of Prince's extraordinary gifts. And he is beginning to repeat himself: "Play in the Sunshine" is the sort of soulful raveup he's tossed off several times before, and the little bass idea that so memorably animates the title tune crops up again in both "Hot Thing" and the mildly intriguing "Forever in My Life." This way lies decadence.

Prince appeared on the scene as a champion of outcast originality. He demonstrated for a new generation the beauty of true style and unconstrained personality, the complexity of the interplay among love and God and sexuality and -- most important -- the essentially multiracial nature of rock & roll music. He is an artist capable of altering popular consciousness in concrete ways, but Sign o' the Times seems unlikely to alter anything more profound than the face of the hit parade. Nothing wrong with that, but it's rather like the story about Jesus feeding the multitudes with miraculous loaves and fishes. Such fundamental nourishment is always appreciated. But when a full-blown feast is so obviously within Prince's capabilities, one wonders: Why doesn't he go for it?

(RS 498)

Slow Love

lyrics co-written by Carol Davis
Wendy Melvoin: Guitar and backing vocals on Slow Love
Lisa Coleman: Backing vocals on Slow Love

Young is the night
It feels so right
Now that U're mine
Let's take our time

The man in the moon is smiling
4 he knows what I'm dreaming of
2night is the night 4 making slow love

The gentle breeze
It blows with ease
Let's make it slow
Just like the wind blows

Let's make it last 4ever
4 a hundred times wouldn't be enough
2night is the night 4 making slow love

CHORUS:
Slow love
So much better when we take it easy
Slow love
It's so much better when we take our time

Love's in your eyes (In your eyes)
Eyes never lie
Don't rush the feelin'
U got me reelin'

U can see through race car drivers
Let me show U what I'm made of
2night is the night 4 making slow love

CHORUS {repeat 2 fade}

© 1987 Controversy Music - ASCAP

Carole Raphaelle Davis was born in London on February 17 in 1958 to a French mother and American Father. She grew up in England, Scotland, France, Italy and Thailand and moved to New York City as a teenager. Carole went to City University of N.Y. and majored in Chinese Studies and Political Science. After University she attended the two-year program at the Lee Strasberg Theater Institute. Carole modeled for Playboy Magazine, was Pet of the month in 1980 (under the name Tamara) and Pet of the Year runner-up for Penthouse Magazine in 1981. During that time, Carole sang in nightclubs and was a lingerie and bathing suit model for Playtex bras and La Perla. Carole modeled for over a hundred covers of romance novels as well as appearing and singing for commercials for Pepsi and Miller Beer.

Carole Raphaelle Davis is an actress. She has appeared in movies and television, notably, The Flamingo Kid, The Rapture, Mannequin, If Looks Could Kill and Live From Bagdhad. Her television appearances include guest star roles on Sex and the City, Angel, My Wife and Kids, Star Trek Voyager, Bob Patterson, Almost Perfect and 3rd Rock From the Sun. The full list of credits is on [IMDB.com] [1].

As a singer/song-writer and recording artist, Carole was signed to Warner Brother records in 1989. Her record “Heart of Gold” was produced by Nile Rodgers. Her single “Serious Money” was a Dance hit and the video was number one on BET. She toured Europe and Asia and performed in clubs throughout the U.S. Carole wrote the song “Slow Love” with Prince for his Grammy Award winning album “Sign O’ the Times.” She recorded her own version of the song for Warner Brothers records. She subsequently left Warners in 1993 and moved to Atlantic Records, where she self-produced and wrote the album “I’m No Angel.” As a song-writer, Carole made a publishing deal, signing with MCA. She was signed to Sony France for Europe.

June 7. 1987
( Sign 'O' The Times Tour )
"Palatrtussardi" Milan, Italy

[Edited 10/3/10 17:52pm]

Sheila E representing Uptown in black on Saturday Night Live with Jay Leno

[Edited 10/3/10 17:52pm]